第四十六期杂志选文——《速度与激情7》（下半部分） - 树屋经典影视论坛

In other words, “Furious 7” is a story of ambientimminent apocalypse and the handful of government-backed freelance saviors who,working not for money but for love, can stave it off. And love really is thecore of the story. Wan’s action photography draws its power not only fromtechnique but from the throb of crude and pure emotion that underpins it like abass line. It may seem strange to contemplate the script of such a terse movie,but “Furious 7,” as written by Chris Morgan, turns the word “family” into ametaphor that liberates it from the pieties of home; it offers the pulpimmediacy of a world without parents, a lateral world of affinities built ofunquestioned tests and forged with unfailing responsibility. And the actorsbring it out—or, rather, seem to be living it: they share an easy, understatedfamiliarity, a relaxed and good-humored pleasure in performance that could beborrowed from a Hope and Crosby “Road” movie. (The performances here suggestthe wide range of movies—including intimate, naturalistic dramas—that theseactors should be cast in, and that the late Paul Walker, whose last film thisis, should have been tapped for.)

换句话说，速度与激情7是一个关于发生在身边的迫在眉睫的灾难故事，在政府支持下几个自由职业者充当救星来暂时缓解局势，他们工作不是为了钱，而是为了爱。爱是这个故事的核心。温的动作影像的力量不仅来自技术，也来自原始纯粹的情感的悸动，这种情感是整个电影的基调，支撑着这个故事。构思这样一个简单的剧本似乎有点不可思议，但是克里斯·摩根写的“速度与激情7”，将“家庭”这个词从一种虔诚的意义中解放出来，变成了一种隐喻，它提供了一种即时性的刺激性体验，这个世界中没有父母、是一个由毋庸置疑的考验构建支撑起来、由无尽的责任感打造的的横向世界。演员们表演出这样一个世界——或者不如说就像生活在这个世界中一样：他们的表演共享着一种从容柔和的熟悉感和一种轻松愉悦的乐趣，这可能是借用自一部霍普和克洛斯比出品的电影“末日危途”。（这里的表演指代的范围很广，包括亲密的、自然主义的戏剧，这些电影的演员应当是出演并获得报酬的，正如已故的保罗·沃克在其最后一部影片——也就是速度与激情7中那样）

“Furious 7” plays likethe old-school arena-rock of movies—Bon Jovi, say, or Aerosmith—packagingadolescent wildness in sleek and sharp machinery. At its best, it’s like a songthat’s meant for driving; at its worst, it’s like one that belongs in a car commercial.Its cinematic style is less aesthetic than industrial, like that of this year’smodels. The means of conveyance—the narrative machinery—isn’t drasticallydifferent from that of a cinematic Model T, but the technical standards anddevices are those of the moment, and its contours signify that moment—and willrapidly come to seem dated.

“速度与激情7“就像老派的舞台摇滚电影——邦·乔维或者空中铁匠乐队那样—将青少时期的狂野包装到时髦亮丽的机械中。往好里说，这部电影像一首为“驾驶”谱写的歌曲；往坏了讲，就像汽车广告。就像今年的车型，电影结构较产业化的片子更少唯美感。这种传达方式——叙述体裁——就像是一台电影界的T型车，虽然技术标准和设备是现代的，但其外形设计又是属于很快就要过时的样式。

Its forthright pleasureshave sharp limits, in other words. Yet its virtues are brought out by contrastwith certain etiolated art-house productions that mistake ambiguity forcomplexity, gentility for virtue, solemnity for honesty, and plainness forauthenticity. One of the odd results of the current world of movies is that,despite their multiplex ubiquity, such big-budget productions as “Furious 7,”or any of the superhero movies that fans of the “midrange drama” decry, havecome to seem as niche-oriented—and even, in a way, as marginal—as lower-budgetmovies of conspicuous artistic ambition. The multiplex fare may make moremoney, but—as this year’s Oscar nominations show—the overtly ambitious filmsare the center of discussion.

换句话说，这种直截了当的乐趣有明显的局限之处。尽管与某些苍白化的艺术电影作品对比其优点明显，但这些艺术电影作品误将模棱两可当做复杂，视文雅为美德，视庄严为正直，将朴素当做真实。当前电影世界的奇怪结果之一就是，尽管多屏幕影院无处不在，但像“速度与激情7“这样的大手笔作品，或任意一部遭到”中档剧“影迷谴责的超级英雄电影，似乎都是以细分市场为导向的。甚至从某种程度上，会像有志于追求出众艺术感的低成本影片一样，变得边缘化。多场放映的票房可能会赚更多的钱，但就像今年奥斯卡提名表现出的那样——公然展现其野心的电影才是大家讨论的焦点。

Classic-era Hollywood may have propelled seriousdramas into mainstream prominence—and this list of the top box-officehits of 1954 offers several astonishments—but there was also an element of “Furious 7,” of joyful vulgarity androwdy showmanship, in most of the best movies of that time. It’s worthconsidering the confrontation with violence (inner and outer), the fiercelyforged affinities, and the sheer pursuit of thrills and striving for ecstasy,that also mark the best, and more obviously marginal art films of our own time.(See, for instance, the ski-chase scene and the Society of the Crossed Keys in“The Grand Budapest Hotel.”) “Furious 7” may not, itself, be great art, butit’s part of the family.

经典时代的好莱坞也许已经将严肃艺术推到极致了，这份1954年的最高票房列表有就曾经显示出这些惊人之处，但是那些电影中间仍然有“速度与激情7“的元素，低俗的欢乐和粗暴的演技，在大多数彼时最好的电影中都有出现。暴力（内部的或外部的）对抗，激烈建构的人际关系、对刺激的绝对追寻和对狂喜情感的谋求，仍然标志着我们这个时代最佳的，显然也更边缘化的艺术影片，这值得我们深思。（参见《布达佩斯大饭店》中滑雪追逐的场景和对《交叉的钥匙社会》的借用的例子。）“速度与激情7“本身可能并不是伟大的艺术，但却是艺术大家庭的一部分。